A mezzo-soprano, which means "half soprano" in Italian, is a type of classical female singing voice. Its range is between the soprano and contralto voice types. The mezzo-soprano's range usually includes the note A below middle C up to the note A two octaves higher (A3 to A5 in scientific pitch notation, where middle C is C4; 220–880 Hz). Some mezzo-sopranos can sing as low as the note F below middle C (F3, 175 Hz) or as high as "high C" (C6, 1047 Hz). Mezzo-soprano voices are generally grouped into three categories: coloratura, lyric, and dramatic.

History

Mezzo-sopranos usually sing less main roles in operas, but there are some exceptions. For example, they play the main character in Bizet's Carmen, Angelina (Cinderella) in Rossini's La Cenerentola, and Rosina in Rossini's The Barber of Seville. These roles are also performed by sopranos and contraltos. In many 19th-century French operas, mezzo-sopranos take the main female role. Examples include Beatrice and Benedict, The Damnation of Faust, Don Quixote, La Favorite, Dom Sebastien, Charles VI, Mignon, Samson and Delilah, The Trojans, and Werther, as well as Carmen.

Common roles for mezzo-sopranos include characters often associated with contraltos, such as witches, nurses, and wise women, like Azucena in Verdi's Il Trovatore. They also play villains or seductresses, such as Amneris in Verdi's Aida. Mezzo-sopranos often perform "breeches roles," where female singers portray male characters, such as Cherubino in Mozart's The Marriage of Figaro. Mezzo-sopranos are frequently found in baroque music, early music, and baroque opera. Some roles meant for lighter soubrette sopranos are sung by mezzo-sopranos, who often add a richer, more dramatic sound. These roles include Despina in Mozart's Cosi fan Tutte and Zerlina in his Don Giovanni. Mezzo-sopranos sometimes perform dramatic soprano roles, such as Santuzza in Mascagni's Cavalleria Rusticana, Lady Macbeth in Verdi's Macbeth, and Kundry in Wagner's Parsifal.

Vocal range

Mezzo-sopranos sing in a range between sopranos and contraltos. Their voices usually have a thicker, darker sound compared to sopranos. Mezzo-sopranos sing in a higher range than contraltos. The terms Dugazon and Galli-Marié are sometimes used to describe lighter-sounding mezzo-sopranos, named after famous singers. Men who sing in the female range are often called countertenors because their voices have a lighter, breathier quality. In modern opera, female singers with very low ranges are often included in the mezzo-soprano group. This is because singers in both ranges can perform similar parts, and true contraltos are uncommon in operatic performances.

Subtypes and roles in opera

There are three main types of mezzo-soprano voices: coloratura mezzo-soprano, lyric mezzo-soprano, and dramatic mezzo-soprano.

A coloratura mezzo-soprano has a warm lower voice and can sing high notes quickly and smoothly. These singers often perform roles that require both low and high notes, including fast, decorated musical passages. Their range is typically from the G below middle C (G3, 196 Hz) to the B two octaves above middle C (B5, 988 Hz). Some can reach as high as C6 (1047 Hz) or D6 (1175 Hz), but this is uncommon. These voices are not called sopranos because they have a stronger lower range and warmer sound. While they can sing high notes, they are most comfortable singing in the middle of their range.

Many operatic roles originally performed by male castrati in the works of Handel and Monteverdi are now sung by coloratura mezzo-sopranos. Rossini and Vivaldi also wrote roles for this voice type. Coloratura mezzo-sopranos may also perform lyric mezzo-soprano or soubrette roles.

Coloratura mezzo-soprano roles in operas (* denotes a lead role):

A lyric mezzo-soprano has a range from the G below middle C (G3, 196 Hz) to the A two octaves above middle C (A5, 880 Hz). This voice type has a smooth, sensitive sound and is well-suited for roles that require emotional expression. Lyric mezzo-sopranos lack the vocal speed of coloratura mezzo-sopranos and the power of dramatic mezzo-sopranos. They are often cast in trouser roles.

Lyric mezzo-soprano roles in operas (* denotes a lead role):

A dramatic mezzo-soprano has a strong middle range, a warm high range, and a voice that is broader and more powerful than lyric or coloratura mezzo-sopranos. This voice type has less flexibility in fast singing than coloratura mezzo-sopranos. Their range is typically from the F below middle C (F3, 175 Hz) to the G two octaves above middle C (G5, 784 Hz). Dramatic mezzo-sopranos can sing over large orchestras and choruses and were often used in 19th-century operas to portray older women, mothers, witches, or villains. Verdi wrote many roles for this voice in Italian operas, and some roles appear in French operas. Most dramatic mezzo-soprano roles are found in German Romantic operas by composers like Wagner and Richard Strauss. Like coloratura mezzo-sopranos, dramatic mezzo-sopranos are sometimes cast in lyric mezzo-soprano roles.

Dramatic mezzo-soprano roles in operas (* denotes a lead role):

All of Gilbert and Sullivan's Savoy operas include at least one mezzo-soprano character. Notable operetta roles include: